The graveyard scene is still a shocker, the details are still astonishingly well assembled, and the performances are wonderful.

One thing I especially like about it, apart from the flavorsome 40s decor in color, is that it's silly in much the same way that many small 40s comedies were.

The film is still hilarious, though time has dimmed the luster of Lemmon's hamming in favor of James Cagney's superbly psychotic commanding officer.

A well above average sketch film from 1977, highlighted by a lengthy, hilariously deadpan kung fu parody, A Fistful of Yen.

Superlative chiller.

There's nothing really new...but it has craft, pacing, and an overall sense of proportion, three pretty rare classic virtues nowadays.

Combining the gentle with the vulgar as only the English can, this lively comedy is bursting with character and energy.

For better and for worse, this is seductive storytelling as well as investigative journalism, and I wasn't always sure which mode I was in.

This cagey and compelling 2004 documentary looks at the world of wine, but it's actually a nuanced, provocative piece of journalism about globalization and its discontents.

None of the characters emerges as very sympathetic.

Fred Astaire and Ginger Rogers were first teamed in Flying Down to Rio, but this 1934 feature was their first effort together as stars—and it worked beautifully, with great Cole Porter songs like "Night and Day," and Con Conrad and Herb Magidson's "The Continental."

Written by Steve Conrad, this is the smartest script director Gore Verbinski has ever had, and he makes the most of it, aided by a strong cast.

Steppenwolf alumnus Tracy Letts adapted his play into this fearsome horror movie, directed with single-minded claustrophobia by William Friedkin.

Key action points are edited with finesse, but the denouement, with its dutiful hail of gunfire, is heartless and mechanical.

Yet some of the laughs come too easy and linger too long; for the film's message to have maximum impact, the laughter has to stick in your throat.

Witty, satisfying, and a terrific showcase for the radiant Bening.

If the relatively prosaic Minghella, making his movie debut, lacks the suggestive poetic sensibility of Lewton, he does a fine job in capturing the contemporary everyday textures of London life, and coaxes a strong performance out of Stevenson, a longtime collaborator. Full of richly realized secondary characters and witty oddball details, this is a beguiling film in more ways than one.

As with Nostalghia, Tarkovsky’s previous work of exile, it’s possible to balk at the filmmaker’s pretensions and antiquated sexual politics and yet be overwhelmed by his mastery and originality, as well as the conviction of his sincerity.

Despite its title, Bruno Dumont's extraordinary first feature is not about Christ, at least not on any literal level. The Life of Jesus may not be about religion, but like the films of Bresson, it is about redemption.

A provocative and stirring climax to the Corleone saga, as well as an autonomous work that sometimes shows Coppola at his near best.

You may not leave the theater having switched sides, but you'll probably respect the other side more, and that in itself would be a victory for human life.

What we don’t know about these characters–and what we don’t see in certain scenes–is often as interesting and as important as what we know and see, and Assayas’s sense of how relationships evolve between people over time is conveyed with a rich and vivid novelistic density.

Laurence Olivier's classic rendition (1956) of Shakespeare's total villain contains one of his most engaging performances and reveals some of his best spatial manipulation of action.

The tone -- a combination of earnestness and gallows humor -- is strangely appropriate.

An extraordinarily subtle, witty, and nuanced work.

One of the funniest awful movies ever made.

The film is music from beginning to end, and nearly every note of it is magical.

One of the most striking of Ozu’s American-style silents.